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Disturbed Lyrics

Disturbed - Biography

David Draiman: Vocals
Dan Donegan: Guitar
Fuzz: Bass
Mike Wengren: Drums

"What I'm trying to do from a lyrical perspective is bring back
the majesty of metal," says David Draiman, defining Believe,
the follow-up to Disturbed's multi-platinum debut, The Sickness.
"With this album I wanted to speak about important things in a
grand way, and even touch on things that may not seem so important,
but come at them from a perspective that makes them inviting,
delicious--even foreboding in a way."
Among his many distinguishing characteristics, Draiman has superb
enunciation. As a singer, it provides his voice with scalpel-like
precision that razors through the great articulated noise his
bandmates generate. Combined with leather-lunged projection, his
voice can both bludgeon and slash at a level that transcends his
lyrics' literal meaning.

Things get really nasty, though, when his voice joins his bandmates'
dexterous rhythmic assault in what Draiman describes as "a
constant blend of all the elements." The resulting attack
during songs such as "Prayer" and "Liberate"
telegraphs contusions along a listener's brainpan.
There's a reason Draiman, guitarist Dan Donegan, bassist Fuzz and
drummer Mike Wengren named 2001's victory lap around the U.S. the
"Music As A Weapon" tour. Sharp enunciation and road-honed
chops are merely part of the arsenal.

In conversation, Draiman's voice has the same quality that you hear
on disc. But the delivery is... slower... and... more deliberate.
The effect lulls rather than cuts. But when he speaks, he doesn't
make small talk, he makes pronouncements. The band's second album,
Believe, doesn't really require further explanation, in the way that
other classic albums don't require explanation. But questions will
arise when spinning the disc. Mainly, "How?"
" We have a responsibility," he begins. "Two and a
half million people invested in us and believed in us with the last
album. We owe it to them and to ourselves and to everything we stand
for, to respect the lineage and the tradition and the purity of
metal. We have to remain faithful to what metal--true, true
metal--was first established to be in the name of Black Sabbath and
a hundred other great bands: Judas Priest, Iron Maiden, Queensryche,
Metallica, Pantera, even Soundgarden.... All of those bands had
songs that spoke about grand things."
True metal groups honor the legacy whose thumbnail history David
sketches above. It's one of the genre's endearing traits: fierce
loyalty expressed loudly. Metal requires that quality from its best
bands and fans in order to survive.
As a product of natural selection, the oft-maligned genre has
gathered strength from continuously swimming against the current
over the course of its Ozzy-and-Iommi-conceived 33-year history.

Snatched by Disturbed from the flow of that tradition, this new
brand of metal is like a shark. In their hands, the music is highly
evolved, lean and muscular, and has a terrible efficiency and
singleness of purpose. None of the twelve songs on Believe, for
instance, stretches far beyond the four-minute mark, yet they each
possess a strength and epic quality that requires other bands twice
as long to convey, if ever.
Part of that boils down to simple math: Four musicians campaigning
behind one album for 22 months. When Disturbed finally pulled off
the road in late 2001, they took a month to recuperate and then
began writing Believe. Two and a half months later they were
recording the album in their hometown of Chicago with producer
Johnny K. Like The Sickness, the disc was then mixed in New York by
Andy Wallace.
A seemingly Herculean effort? Keep in mind that this is a band that
doesn't like to sit idle for long. With the precious month the band
had off between the road and rehearsal, Fuzz, for instance, built a
garage and poured a driveway for his house. If that's what the band
calls leisure time, imagine what they consider work.
" We've always had to work hard for what we have,"
explains Draiman. "Nothing comes easy to Disturbed. Such is
life. It certainly hardened us. When you're put in the furnace for
long enough, it hones you." "Being on the road for 22
months totally increased our playing ability," agrees Fuzz.
"It made us much better musicians." "It's a different
band," says Draiman. "We were eager to explore new
territory and challenge ourselves." "We wanted to prove
that there's not just one formula that works for this band,"
adds Donegan, who conceives the musical framework for the songs
before they're arranged by the group. "I didn't want to
duplicate what we did the first time around. There's nothing
exciting about that."
Ironically, in order to explore fresh territory, Disturbed
duplicated the working environment that produced such winning
results with The Sickness. The band's loyalty--again, the true-metal
variety--shines through in that decision, as does its pragmatism. As
Fuzz says, "If it ain't broke, don't fix it." It's a
sentiment echoed by his bandmates.
" We write what we write without overthinking it," says
Donegan. "That's part of the reason we chose to record again in
Chicago with Johnny K., who's been a friend of ours since we were a
local band. It put us back in a familiar environment where we could
just do what we do." "We're our own worse critics,"
admits Wengren. "We're always pushing each other to become
better musicians and I guess better people, too."
The results are evident on Believe. If The Sickness put Disturbed on
the map with signature cuts like "Stupify" and "Down
With The Sickness," the new album refines that signature into
an even harder alloy on songs such as the title track, the first
single "Prayer" and the pit-ready "Rise" and
"Bound."
" We're not reinventing the wheel," says Donegan.
"But when all of our different playing styles and influences
come together, it's a fresh sound. There are old-school elements to
what we do, but it's done in a modern way. Even though we're
characterized as a metal band, I don't think there are any metal
bands out there that sound like us."

Draiman's singular voice burns the final brand on all things
Disturbed. This time out, however, he waits until
"Intoxication"a full six songs into the album--before
unleashing his signature sound. Robert Plant has his "baby,
baby, baby." Rob Halford has his vibrato wail. Draiman has his
feral roar, the guttural noise that opened "Down With The
Sickness" and subsequently launched a million extreme sporting
events.

" The noises... oh, how they love the noises," he says
with a chuckle. "When 'Down With The Sickness' broke as a
single, some people forgot about the rest of the song. They would
say, 'Come on, make the noise!' What the fuck am I? They wouldn't
ask me, 'Can you sing that one line?' Or 'What are the words to that
part? Or 'How does that melody go?" With this album, I was
determined to let people know that I can do much more than just make
animal noises."

If that point was already clear to those who listened to The
Sickness as an album, the way that work was intended to be heard,
it's undeniable now. The scalpel-sharp enunciation, the
leather-lunged projection, the rhythmic assault, and, yes, even
"the noises," combine to deliver Draiman's grand messages.
The arching theme? Belief.

" I encourage self-exploration and internal truth--defining
one's own belief. People need to seek out that which they are able
to believe in. Do you believe in yourself? Do you believe in the
future of humanity? In God? In the death of god? In the things that
you cannot see in the spiritual realm? Are you afraid of the dark?
The light?"

Tellingly, perhaps, the album closes with a track called
"Darkness," whose intense mood is conveyed with a spidery
acoustic guitar arpeggio, a pecked piano melody and a haunting cello
line. As a final address to his audience, Draiman offers his most
tender vocal performance, singing, "Dare to believe for one
last time. Then I'll let the darkness cover me, deny everything,
slowly walk away to breathe again on my own."
" 'Darkness' is a nice closure to the album," says
Donegan. "It ends the album in a way that leaves us room to go
in any direction we want with the third album. I don't like to
concern myself with anyone's expectations but our own."

" For inspiration, we look to any band that has stood the test
of time," adds Wengren. "We don't want to be a band that's
known for just one song. We had a successful debut album. Now we're
building on that and seeing where it takes us."
Draiman, being Draiman, puts it more succinctly: "There's so
much more to prove."

Source: http://www.ozzfest.com
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